HYPNOTIC BRASS ENSEMBLE 2017-18 Field Trip Educator Guide
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Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Downbeat.Com July 2015 U.K. £4.00
JULY 2015 2015 JULY U.K. £4.00 DOWNBEAT.COM DOWNBEAT ANTONIO SANCHEZ • KIRK WHALUM • JOHN PATITUCCI • HAROLD MABERN JULY 2015 JULY 2015 VOLUME 82 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
CLINE-DISSERTATION.Pdf (2.391Mb)
Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright. -
A Power Stronger Than Itself
A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY -
Chicago Music Communities and the Everyday Significance of Playing Jazz
MUSIC PRACTICES AS SOCIAL RELATIONS: CHICAGO MUSIC COMMUNITIES AND THE EVERYDAY SIGNIFICANCE OF PLAYING JAZZ by John Frederic Behling A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2010 Doctoral Committee: Professor Mark Allan Clague, Chair Professor Paul A. Anderson Professor Kelly M. Askew Professor Charles Hiroshi Garrett Copyright John Frederic Behling 2010 Acknowledgements In this dissertation, I argue that the solos of jazz musicians spring from the practices of the communities in which they live. What holds true for expression and creativity in jazz is no less true of academic research and writing. This dissertation would not be possible without the support and encouragement of many communities and individuals. I thank all the musicians in Chicago who played music with me and welcomed me into their communities. I am especially grateful to Aki Antonia Smith, Edwina Smith, Scott Earl Holman, and Ed Breazeale for befriending me and introducing me to the musicians and communities about whom I write. I am also grateful for the support of my academic community. Kelly Askew introduced me to the anthropological side of ethnomusicology. Her writing showed me what compassionate and concrete ethnography should be like. Paul Anderson’s late night seminars helped me understand that musical practices have philosophical and psychological significance and that jazz criticism is part of a much larger and long- standing intellectual conversation. Charles Hiroshi Garrett, a late addition to my committee, embraced this project with enthusiasm. His generous encouragement and insightful comments are greatly appreciated. -
Uncle Tom's Uncle
Uncle Tom’s Uncle Uncle Tom’s Uncle The Case for Reparations (And why I don’t want them) Ronald Dennis Chism Values Press All Rights Reserved Copyright © 2021 by Ron Chism First Edition Published in the United States by Values Press Created in the United States of America Acknowledgements edicated to my father, Nathaniel Spain Chism, who, by his example, taught me the power of steadiness, dignity, hard work, D and non-judgmental acceptance of others. To my mother, Azelma Dolores Chism, who, by her example, taught me to not wait until “didn’t.” (Don’t worry, you’ll read about “didn’t”), and not to ever, ever give up until you’ve won, or died trying. To my big brother-brother, Marcus Burnell Chism, aka, Yeshiah Ben Shaleak, who, by concrete example, taught me that nobody defines me, and nobody corrals me, because I’m “a man on the planet, unbound.” To my wife of 31 years, Morna, whose external life, every single nano- second, reflects her inner spiritual belief in, reliance upon, and love of The Divine and gives me a daily example to continue trying to emulate. Without her, I could do nothing. To Carl Ferrel, who taught me how “to chess.” To Leroy Hardy, aka, Chaka Ra, who, for many of us young “Black-consciousness” men of Chicago, back in the late 1960s, greatly extended my big brother’s man- on-the-planet perspective of self, and who refused to serve as an ear for excuses. To the awesome, tough-love, no-excuses-accepted, progressive Black community of pre-1960s America, which produced, all over the United States, strong independent Black institutions and economies, regardless of segregation. -
HENDERSON Trumpeting Change
November 2012 | No. 127 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com EDDIE HENDERSON Trumpeting Change FRED • TED • PHIL • GLIGG • EVENT VAN HOVE NASH COHRAN RECORDS CALENDAR CHICK COREA & ELLIS MARSALIS QUARTET ERIC PERSON CURTIS STIGERS KENNY G STANLEY CLARKE BAND 11/8 - 11 11/12 11/13 - 14 11/15 - 18 ft. RAVI COLTRANE & MARCUS GILMORE 11/3 - 7 SHEILA JORDAN & STEVE KUHN DUO JACQUI NAYLOR THE MANHATTAN TRANSFER CASSANDRA WILSON 11/19 11/20 - 22 11/23 - 25 11/29 - 12/2 LATE NIGHT GROOVE SERIES: SUNDAY BRUNCH SERIES: JEFF FOXX & CHARMAINE AMEE 11/2 NYU JAZZ: MICHAEL RODRIGUEZ 11/4 THOUSANDS OF ONE 11/3 IRIS ORNIG 11/11 RITMOSIS 11/9 JUILLIARD JAZZ ENSEMBLE 11/18 MAURICIO ZOTTARELLI - MOZIK 11/10 ERIKA 11/25 JOHN RAYMOND PROJECT 11/16 MUTHAWIT 11/17 MATT DICKEY & TRY THIS AT HOME 11/23 SWISS CHRIS 11/24 MICHAEL FEINBERG 11/30 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY Everyone has seen one of those classic kung fu movies where some line like “Now the student has become the master” is spoken. It may seem a bit trite when heard with bad overdubbing but jazz wouldn’t be the same without the concept. While New York@Night there have been some players that appeared fully formed, most worked numerous 4 apprenticeships - learning on the bandstand, as it were - with their elders, Interview: Fred Van Hove absorbing lessons they themselves later passed on. Trumpeter Eddie Henderson (On The Cover) got his start as part of Herbie 6 by Clifford Allen Hancock’s Mwandishi band in 1970 but is now an elder statesman himself, sharing Artist Feature: Ted Nash decades of jazz wisdom. -
Brass Junkies Repertoire
Brass Junkies Repertoire Key: 5/6 Playable with 5 & 6-Piece bands 6 Playable with 6-Piece band 7/8 Playable with 7 & 8-Piece bands A Playable with any instrumental lineup V Including female vocalist A Little Less Conversation (Elvis Presley) 7/8 A Night In Tunisia (Dizzy Gillespie) 7/8 Ain’t Nobody (Chaka Khan as played by Youngblood Brass Band) A,V All You Need Is Love (Beatles) 5/6 Atchafalaya (Snarky Puppy) 7/8 At Last (as performed by Etta James) 5/6 Baby I’m A Star (Prince) 5/6 Blackbird Special (The Dirty Dozen Brass Band) 5/6 Black Eye Friday (Brassroots) A Brass Scene Kids (No BS! Brass Band) 7/8 Can’t Stop The Feeling (Justin Timberlake) 5/6 Can’t Take My Eyes Off You (Andy Williams) 6, 7/8 Cinnamon Girl (No BS! Brass Band) 7/8 Cissy Strutt (The Meters) A Crazy In Love (Beyonce) A, V D-Cup (Bass Cadet) 7/8 www.brassjunkies.co.uk Do I Do (Stevie Wonder) A Do Watcha Wanna (Rebirth Brass Band) A Everlasting Love (Love Affair) 5/6 Express Yourself (Charles Wright) A Faith (George Michael) A, V Feels (Calvin Harris/Katie Perry/Pharrell Williams) 5/6 For Once In My Life (Stevie Wonder) 5/6 V Fourplay (Fred Wesley & the Horny Horns) 7/8 Getting In The Cut (Bass Cadet) 7/8 Get Lucky (Daft Punk as played by The Soul Rebels) A, V Ghost Town (The Specials) 7/8 Girls & Boys (Blur) A Girls On Film (Duran Duran) 5/6 Give Me The Night (George Benson as played by Hot 8 Brass Band) A God Put A Smile Upon Your Face (Coldplay as played by Mark Ronson) 7/8 Gospel (From ‘Monsters Inc.’) (March Fourth Brass Band) 7/8 Hallelujah I Love Her So (Ray -
Concert Licensing Catalogue Moods Digital Concert Club
Concert Licensing Catalogue Moods Digital Concert Club www.moods.digital Request your 7-day voucher to preview all concerts online. [email protected] Contact: Claudio Cappellari [email protected] +41 44 276 8002 PDF sorted by Eventname as published on moods.digital. Printed 03.06.2021 © Moods Jazz Association Technical details on request. Moods Jazz Association | Schiffbaustrasse 6 | CH-8005 Zürich/Switzerland www.moods.digital © Moods Jazz Association [email protected] Request your 7-day voucher to preview all concerts online - [email protected] T +41 44 276 80 00 Concert Licensing Catalogue Page 2 17.11.2020 ∞0∞ DREAMERS Style Electronic Jazz Subtitle Pedretti - Iannone - Girod - Schaer Artists Jean-Jacques Pedretti tb/sagattes, Fabien Iannone keyb/synth, Robin Arthur Girod g/b, Nelson Schaer rhythmbox/perc Description Four musicians coming from a free and singular jazz, a jazz for dreamers who privilege the emotional over the performative, turning their repetitive constructions almost to infinity, they decline a romantic and timeless music that lengthens life expectancy. An eternal cycle of improvisations on the theme of pulsation and synthetic modules, between man and machine, between tribal trances and space travel. Concert location: Jazz Club Moods, Schiffbauplatz, CH-8005 Zurich Moods Jazz Association | Schiffbaustrasse 6 | CH-8005 Zürich/Switzerland www.moods.digital © Moods Jazz Association [email protected] Request your 7-day voucher to preview all concerts online - [email protected] T +41 44 276 80 00 Concert Licensing Catalogue Page 3 22.02.2018 2henning Style Experimental Pop Artists Rahel Kraft voc/synth/fx, Valeria Zangger synth/samples/dr Description Hand-made samples get looped, distorted, chased through the synthesizer, overlayed with singing and founded on drums. -
Free Jazz CD Listening Notes-Chase
Listening Notes JS 581/IMPRV 481 Jazz Styles: Free Jazz and the Avant Garde Fall 2005 Key: Track number. Title (composer) leader-instrument, musicians-instrument, recording location, recording date (month/day/year), (r=reissue title:) CD or LP title CD 1, Part 1: Precursors of free jazz and the avant-garde 1. Tough Truckin' (Duke Ellington) DE-p, Cootie Williams-t, Rex Stewart-ct, Joe "Tricky Sam" Nanton- tbn, Lawrence Brown-tbn, Juan Tizol-v tbn, Johnny Hodges-ss, Harry Carney-bari, Otto Hardwick-as, Hayes Alvis-b, Billy Taylor-b, Sonny Greer-d Chicago, 3/5/1935 (r) Classics Chronological 1935-1936 An early ostinato-based piece. Also note the attention that Ellington's soloists gave to timbre and envelope (attack, change of timbre and loudness over time, and decay), like many others who began their careers in early jazz of the 1920s. Wide variation of timbre and envelope were less often used as expressive devices (except by a few players) in late swing, bebop and early modern jazz of the late 1930s through the 1950s. Exceptions during that period, especially in rhythm and blues, were viewed by many in the jazz world as unsophisticated, vulgar, and/or a means of pandering to audiences' bad taste. In the 1960s, avant-garde players reclaimed wide variations in timbre and envelope as important expressive parameters. 2. The Clothed Woman (Duke Ellington) DE-p, Harold Baker-t, Johnny Hodges-as, Harry Carney-bari, Junior Raglin-b, Sonny Greer-d NYC, 12/30/1947 (r) Classics Chronological 1947-1948 Ellington's piano playing blends aspects of his stride roots with pedal effects and surprising sonorities -- an example of making the familiar seem strange through exaggeration or isolation of elements.